strike eisenstein analysis

Notes on Soviet Montage including a short analysis of Eisenstein's Strike - Free download as Word Doc (.doc), PDF File (.pdf), Text File (.txt) or read online for free. The ship had been built for the Imperial Russian Navy’s Black Sea Fleet; and at the time, many of its senior officers were away, engaged in the ongoing Russo-Japanese War. Arthur Marwick, War and Change in Twentieth Century Europe, Maidenhead, Open University Press, 1990, p. 146. David Bordwell, The Cinema of Eisenstein, London, Routledge, 2005. The first feature film of legendary Soviet director Sergei Eisenstein, Strike, is an anatomy of the germination of collective action, its surveillance within modern networks of power, and its violent repression.Based on the 1903 strikes at Rostov-on-the-Don, Strike was conceived as part of a never finished seven-film cycle entitled Toward the Dictatorship of the Proletariat. 3 (Marx and Engels,7) Briefly, he underlines … En constatant la censure exercée sur la deuxième partie du film Ivan le Terrible, les commentateurs français ont dit n'importe quoi à savoir que Staline était choqué d'être identifié à Ivan le Terrible. KOULECHOV, Lev « Kuleshov on Eisenstein » Film Journal, automne-hiver 1972, vol. Strike, then, is not just an Eisenstein film, but a film perfectly demonstrative of his signature stylistic process and his contribution to the language of the medium. Soviet montage theory is an approach to understanding and creating cinema that relies heavily upon editing (montage is French for "assembly" or "editing"). 2. Suphi Keskin. Strike (Russian: Стачка, translit. Pour plus de détails, voir Fiche technique et Distribution Lire le média La Grève . These sorts of shots used by Eisenstein have no place within any realistic representation of either the police spies or the violent onslaught on the strikers but work to create meaning above and beyond realism. Thus, in Strike, which recounts the repression of a strike by the soldiers of the tsar, Eisenstein juxtaposed shots of workers being mowed down by machine guns with shots of cattle being butchered in a slaughterhouse. Read More. 1984 COSTANZO, William « Joyce and Eisenstein : Literary reflections of the reel world » Journal of Modern Literature, (Philadelphie), vol. Apart from the more obvious brutalities brought down on the strikers and their families by the factory owners and the authorities in the main narrative, simple aspects of mise en scène such as the wealth, space and grandeur that surrounds the industrialists, compared with the poverty, confined space and basic furnishing to be found in the workers’ homes, work to drive home Eisenstein’s key point. At first there is joy as they are able to experience the pleasure of being with their families but then the hardship of having no income begins to bite. In his concept of film montage, images are presented for maximum psychological impact. The article's subject is film form, taken up elsewhere in this period in "On the Question of a Materialist Approach to … 6. WHY ARE SUCH IDEAS/DISCOURSES ATTRACTIVE TO PARTICULAR FILMMAKERS AND TYPES OF CINEMA? Strike, 1925; Battleship Potemkin, 1925; The end of St. Petersburg, 1927; October, 1928; Citizen Kane, 1941; Casablanca, 1942; Example. 3-4, pp. Where not to start. Arguably one of the most consistently great directors of all time, there’s nowhere that it would be disastrous to start with Eisenstein, but The General Line (aka Old and New) (1929) is probably one best saved – and savoured. As per Eisenstein’s theories, each shot of the film is precisely designed to contribute meaning … Conveying clearly the unfair, unjust, not to say brutal, nature of the Tsarist regime is the overriding aim at all times. The whole film is constructed around the juxtaposition of shots that comment on each other. Eisenstein … La lettre Production Company: Goskino. Eisenstein uses an, at the time, novel editing technique which he entitled “the montage of attractions” in order to engage and manipulate his viewers attentions. The first feature film of legendary Soviet director Sergei Eisenstein, Strike, is an anatomy of the germination of collective action, its surveillance within modern networks of power, and its violent repression.Based on the 1903 strikes at Rostov-on-the-Don, Strike was conceived as part of a never finished seven-film cycle entitled Toward the Dictatorship of the Proletariat. « Eisenstein's Strike: A Study of Cinematic Allegory ... Analyse du « matériel fictionnel » de La grève. Analysis Of The Movie ' Strike ' 1503 Words 7 Pages Sergei Eisenstein began what became known as the Soviet Montage movement with his 1925 film, Strike, which depicted the uprising of proletariat workers asserting their demands for wage increases and shorter workdays to the stockholders of the company. Battleship Potemkin. Individual personalities are not emphasised but instead the whole social group of the workers is presented as a collective hero while the capitalists en masse are seen as the villain within the narrative structure. Strike looks back to what it portrays as the brutality of pre-Revolution days when any attempt by workers to defend the simplest of rights for themselves was violently put down and says, in consigning all of that to the past, those days must not be forgotten. Rather than tackling the blaze, the firemen are ordered to turn their hoses on the demonstrating workers. Meanwhile, the factory owners, well dressed and fat, continue to enjoy the good life. In Strike, Eisenstein's use of balance, order and proportion, and pattern and rhythm alone provokes numerous emotional responses from the viewer, and the text that he has written in the language of art leads the observer to discover a truth that Eisenstein has hidden within his mastery of montage and visual manipulation, the sad and unjust mistreatment of the weak and abused. His film is built around the struggle between the workers and the forces of capitalism. 1. More prosaically, it may have been that there was an awareness that the working-class target audience was likely to be used to more piecemeal forms of entertainment such as that offered by cabaret, or the circus. Still provided by … Quan Do Presentation 5/11/2017 While in the Red Army, Sergei Eisenstein combined his service as a technician with study of theater, philosophy, psychology and linguistics. Fiche filmographique. It is in this context that we are to view Evgeny Bauer’s “The Revolutionary” (1917) and Sergei Eisenstein’s “Strike” (1925). Analyse de l'ensemble de la production d'Eisenstein, comme réalisateur, mais également comme metteur en scène de théâtre, comme pédagoque, comme dessinateur et comme théoricien. While the Mensheviks vacillate, an advance guard infiltrates the palace. Editing is seen as a major means of organising the form of the film and generating meaning, and not simply as a technique that is there to serve narrative progression. Courtesy Janus Films. As we move away from cinema in its ‘purist’ form, we have almost completely transitioned into the digital age, and with this transition, ideas and opinions on the ultimate fate of cinema have, Analysis Of Sergei Eisenstein's 'The Strike', The Strike by Sergei Eisenstein is a 1925 silent film depicting a variety of factory workers in pre-Soviet Russia carrying out a strike, and then being suppressed by governmental forces. Strikes, the 1905 revolution, and the 1917 revolution were Eisenstein's earliest subjects. Eisenstein is not interested in maintaining the illusion of reality, which might be seen to be the major concern dominating the thinking of filmmakers attempting to create the standard Hollywood product. … He staged and performed in several productions, for which he also designed sets and costumes. It is the principal contribution of Soviet film theorists to global cinema, and brought formalism to bear on filmmaking.. Strike was released in 1925, and was the first film by director Sergei Eisenstein. Some of the shots early in the film with workers standing in front of, or behind, the turning flywheels of industrial machinery could exist as part of a modernist film essay, a paean to heavy industry. The film ends by reminding the audience in the new communist Russia not to forget this and other similar brutalities in Tsarist times. Sergei Eisenstein, Russian film director and theorist whose work includes the three classic movies Battleship Potemkin (1925), Alexander Nevsky (1939), and Ivan the Terrible (released in two parts, 1944 and 1958). The Cinema of Eisenstein is David Bordwell's comprehensive analysis of the films of Sergei Eisenstein, arguably the key figure in the entire history of film. Afterwards, other ships of Tsarist navy put into frame, however, as groups who have class consciousness, they join the ranks of Battleship Potemkin. Home; About This Site; Crash Course Syllabus (or, … Dans le montage du scénario, ainsi que le montage de Griffith et celui du cinéma des premiers temps, Eisenstein nous laisse percevoir des indices clairs de toute la démarche artistique qui constituent le montage des attractions. It represents an initial foray by Eisenstein into psychoanalysis as an artistic and critical method. The most typical features of Montage are the use of many rapid cuts, overlapping editing and the non-diegetic insert, as well as themes such as collectivism over individualism. Strike (1925) was Eisenstein’s first full-length feature film.Battleship Potemkin (1925) was acclaimed critically worldwide. Shots of police spies are intercut, for example, with images of animals such as an owl and a fox that it is visually suggested they resemble. The Routledge Encyclopedia of Films, Edited by Sarah Barrow, Sabine Haenni and John White, first published in 2015. Most famously, the final massacre of the surrounded workers by armed troops, shown as dramatic and chaotic action, is paralleled by shots of the slaughter of a cow in an abattoir, shown in full (if quickly edited) throat-cutting and blood-letting detail. The concept of ‘striking’ is put forward as an imperative and would have been certain to antagonise capitalist governments in Europe faced with the possibility that the Russian Revolution might prove to be a catalyst for further revolts by workers in other countries.5 So, for example, in Britain this film and others from the Soviet Union were not shown for years, other than in film societies with private (middle-class) memberships.6. Eisenstein achieved so much in the … Analysis Of Sergei Eisenstein's Roles In The Red Army. In the realistic films that he undertook, however, such a technique is effective only when it utilizes the concrete elements implicit in the action; it loses validity when its symbols are imposed upon reality instead of being implied by it. His father, Mikhail Osipovich Eisenstein, was an architect and his mother, Julia Ivanovna Konetskaya, was the daughter of a successful merchant. In Sergei Eisenstein. Both Stachka (Strike, 1924), which extolled the virtues of the working class solidarity, and Bronenosets Potyomkin (Battleship Potemkin, 1925), about the 1905 mutiny aboard a battleship in the Tsar’s navy, combined extreme close-ups with documentary-style action, all composed in daring Constructivist diagonals and cut together at a revolution-inducing pace. Eisenstein's influential essay, Montage of Attractions was written between Strike's production and premi… A 1925 film set against the backdrop of Pre-Revolutionary Russia circa 1903, the film was meant to keep core tenets of the struggle alive and the fires of unrest burning in the minds of the Soviet people. Contextual Analysis of Eisenstein's Montage Theory in Battleship Potemkin and October: Ten Days That Sook the World. 41-140. 1972 MARIGNAC, M. « La grève » Dossiers du Cinéma, Casterman, 1972. Strike, Eisenstein's first full-length feature film, is composed of six parts, and was intended to be part of a seven-part series: Towards Dictatorship, that was never finished. He found that the film … Alongside scenes that might be said to document events, Eisenstein uses visual metaphors that immediately destroy any ‘illusion of reality’. It turned out to be an artistic success as well as an educational aid and it won an award at the 1925 'Exposition des Arts Décoratifs' in Paris, as well as being commercially exhibited in Germany. In Strike, Eisenstein's use of balance, order and proportion, and pattern and rhythm alone provokes numerous emotional responses from the viewer, and the text that he has written in the language of art leads the observer to discover a truth that Eisenstein has hidden within his mastery of montage and visual manipulation, the sad and unjust mistreatment of the weak and … Strike is set in Russia in the years before the 1917 Revolution. He sought out plain folk who looked the part, then costumed them properly and trained them to move in certain, slightly exaggerated ways. Next, the army is called in. However, the political is never far away. Anatov-Oveyenko leads the attack and signs the proclamation dissolving the provisional government. Instead, he wants to actively seek out ways of creating the maximum collision from shot to shot and sequence to sequence. Sergei Eisenstein’s first feature film, Strike, serves as a prime example of the revolutionary techniques and artistic vision of the Soviet Montage Movement.Strike chronicles the events surrounding an unsuccessful labor strike led by factory workers in pre-revolutionary Russia, building to a climactic clash between the bourgeois power structure and the common people. January 23,1898, Riga, Latvia d. February 11, 1948, Moscow, USSR. As to him, "History of all hitherto existing society is the history of class struggles." The bodies too are fragmented: close-up shots which show the action of a hand, the laughing or speaking of a … In particular, the audience is encouraged to identify with these individual heroes by the amount of time that is spent following their trials and tribulations. Director: Sergei Eisenstein. Eisenstein utilisera ce genre de montage pour la propre intensification dramatique dans les films tels qu’Octobre, Strike et Le Cuirassé Potemkine. Strike, made in 1924, Eisenstein's second film and the first of the trilogy, was originally planned as the first of a series of films documenting the pre-revolutionary working class. Arguably one of the most consistently great directors of all time, there’s nowhere that it would be disastrous to start with Eisenstein, but The General Line (aka Old and New) (1929) is probably one best saved – and savoured. 3-4, pp. The director of such classics as Potemkin, Ivan the Terrible, October, Strike, and Alexander Nevsky, Eisenstein theorized montage, presented Soviet realism to the world, and mastered the concept of film epic. Regardless of their content, shortening the shots abbreviates the time the audience has to absorb the information in each shot. Eisenstein uses an, at the time, novel editing technique which he entitled “the montage of attractions” in order to engage and … Cinematographers: Edouard Tisse and Vassili Khvatov. In fact, Strike is an almost never-ending string of “attractions,” in their more primary sense of circus entertainment. It tells the story of a group of factory workers in pre-revolutionary Russia, who strike for better wages and courteous treatment, and then are suppressed (with extreme prejudice) by capitalist owners and their … Instead, actors portray what are suggested to be typical representatives of particular social classes; e.g. [Country: USSR. It was in turn, intended to be one part of a seven-part series, entitled Towards Dictatorship (of the proletariat), that was left unfinished. It might be argued Eisenstein ends up with rather a hotchpotch of different filmic effects, or it might be suggested he has the confidence that an audience can move backwards and forwards between a range of emotional and intellectual responses and a belief that film is about more than just photographic realism.3. the rich, fat factory owners being waited on in palatial surroundings, enjoying bizarrely indulgent (if not debauched) tastes, or the defiant worker who despite recognising what the consequences will be for himself refuses to betray his comrades. L'auteur fonde sa démonstration sur des textes connus, mais surtout sur de nombreux inédits et des articles de presse contemporains. Courtesy Janus Films. And, at the same time, in this his first feature film and as part of a collective group making the film, Eisenstein is learning and debating with others about how best to use film in a revolutionary context. Eisenstein recognises filmmaking as a political act that involves using cinematic techniques to represent the world (and, therefore, inevitably your understanding of the world) to an audience. Strike (1925), Sergei Eisenstein’s first feature length film, begun when he was only 26, is one of the first films made in the Soviet Montage style, and quite exemplary of it. The most typical features of Montage are the use of many rapid cuts, overlapping editing and the non-diegetic insert, as well as themes such as collectivism over individualism.

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